‘Paṉṉirunāmappāṭṭu’ of Nammāḻvār Dvādaśa-mūrti in Tamil Tradition
Journal name: Acta Orientalia
Original article title: ‘Paṉṉirunāmappāṭṭu’ of Nammāḻvār Dvādaśa-mūrti in Tamil Tradition
ACTA ORIENTALIA is a journal focused on the study of Oriental languages, history, archaeology, and religions from ancient times to the present. The journal includes articles reviewed by a senior scholar in the relevant field.
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Jeyapriya Rajarajan
Acta Orientalia:
(Founded in 1922 and published annually)
Full text available for: ‘Paṉṉirunāmappāṭṭu’ of Nammāḻvār Dvādaśa-mūrti in Tamil Tradition
Year: 2015 | Doi: 10.5617/ao.4452
Copyright (license): CC BY 4.0
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Summary of article contents:
Introduction
The article explores the influence of the Dvādaśa-mūrti concept, as articulated in the Ahirbhudhnya-saṃhitā of the Pāñcarātrāgama, on the hymns of the Tamil poet-saint Nammāḻvār, specifically focusing on the ‘Paṉṉiru-nāmappāṭṭu’ section in his Tiruvāymoḻi. It investigates the interplay between literary, philosophical, and artistic expressions in Tamil Nadu, particularly through the lens of iconography and sacred imagery related to the twelve forms of Viṣṇu. The study emphasizes the connections between Sanskrit and Tamil traditions and how these have shaped the visual arts and religious practices in the region over time.
Dvādaśa-Mūrti: A Key Iconographical Concept
The Dvādaśa-mūrti refers to the twelve forms of Viṣṇu, which are systematically categorized in both Tamil and Sanskrit literature. The article highlights that both traditions arrange the twelve epithets of Viṣṇu in the same sequential order, which underscores the shared cultural and religious significance. It reflects on the role of iconography in defining these forms, noting the unique color patterns and emblems associated with each mūrti. Additionally, the study suggests that the Dvādaśa concept became prominent in Tamil art by the eighth century CE, further enhancing its cultural impact.
Interconnection with Nammāḻvār's Hymns
Nammāḻvār's hymns, particularly the ‘Paṉṉiru-nāmappāṭṭu’, critically engage with the Dvādaśa-mūrti, reflecting profound philosophical and devotional sentiments. The article reveals how these hymns present a holistic view of Viṣṇu's forms, intertwining their characteristics with elements of Tamil cultural identity and spirituality. Nammāḻvār emphasizes the divine attributes and narratives surrounding these forms, which serve not only as expressions of faith but also as pathways to understanding the socio-religious dynamics of his time. The hymns encapsulate a deep sense of devotion that transcends mere literary accomplishment.
Artistic Reflection in the Nārttāmalai Cave Temple
The paper further investigates the architectural and artistic implications of the Dvādaśa-mūrti through the examination of the Nārttāmalai cave temple, where twelve rock-cut images of Viṣṇu embody the concept in a tangible form. This site exemplifies how literary and philosophical themes have been manifested in art, showcasing the unique alignment of the iconographic representations with the descriptions found in Nammāḻvār's hymns. Scholars argue that the rock-cut images were likely influenced by the lyrical content of ‘Paṉṉiru-nāmappāṭṭu’, revealing a profound continuity between text and visual representation in Tamil culture.
The Role of Colors and Binaries in Iconography
Another significant theme in the study is the relationship between color symbolism and iconography in the understanding of the Dvādaśa-mūrti. The paper discusses how color plays a vital role in establishing the identity and nature of each form, with specific colors denoting particular attributes of Viṣṇu. While Nammāḻvār's hymnal references lack detailed color descriptions, the alignment with the Pāñcarātra tradition offers insights into the broader implications of color within iconographic practices. This aspect points to a deeper connection between aesthetic choices and the theological tenets exuded through visual culture in Tamil Nadu.
Conclusion
In conclusion, the article presents a comprehensive study of the Dvādaśa-mūrti's impact on Tamil literary and artistic traditions through the works of Nammāḻvār, emphasizing the innate connections between scripture, philosophy, and visual expression. It argues that Nammāḻvār's hymns not only encapsulate the essence of devotion towards Viṣṇu's forms but also serve as a scholarly bridge to historical and artistic interpretations within Tamil culture. The exploration of iconography in the Nārttāmalai cave temple further exemplifies the living tradition of worship that interlaces literature and art, marking a distinctive layer of cultural heritage in South India. Continuing research in this domain is encouraged to unravel further parallels and insights across India and beyond.
FAQ section (important questions/answers):
What is the significance of Dvādaśa in Tamil tradition?
Dvādaśa refers to the twelve epithets of Viṣṇu, crucial in Tamil Vaiṣṇava literature, particularly highlighted in Nammāḻvār's hymn 'Paṉṉiru-nāmappāṭṭu', showcasing the blending of philosophy, literature, and iconography.
Who is Nammāḻvār and what are his contributions?
Nammāḻvār was a major Tamil Vaiṣṇava saint known for his hymns. His works, including 'Tiruvāymoḻi', consist of 1,102 hymns and are pivotal in the devotional literature of South India.
What are the Dvādaśa-mūrti as depicted in art?
The Dvādaśa-mūrti represent twelve forms of Viṣṇu, each with distinct emblems and characteristics, often depicted in art, notably in the Nārttāmalai rock-cut temple, showcasing their significance in Tamil iconography.
How do Nammāḻvār's hymns relate to Sanskrit sources?
Nammāḻvār’s 'Padinniru-nāmappāṭṭu' mirrors Sanskrit traditions, particularly from the Pāñcarātra texts, arranging names and attributes of Viṣṇu in a systematic order, highlighting the interconnectedness of Tamil and Sanskrit devotional practices.
What is the role of the Nārttāmalai temple in the study?
The Nārttāmalai cave temple houses rock-cut images representing the Dvādaśa-mūrti. It serves as a significant archaeological site to study the iconography influenced by Nammāḻvār’s devotional themes and hymns.
What elements of art are compared in the study?
The study compares the iconographical features, such as colors and emblems, of Viṣṇu in Nammāḻvār's hymns to those found in ancient Tamil art, illustrating how literature informs visual representations.
What philosophical themes are explored in Nammāḻvār's hymns?
Nammāḻvār's hymns explore themes of devotion, the nature of divinity, and the relationship between the soul and the divine, emphasizing bhakti (devotion) as a means of connecting with the sacred.
Glossary definitions and references:
Oriental and Historical glossary list for “‘Paṉṉirunāmappāṭṭu’ of Nammāḻvār Dvādaśa-mūrti in Tamil Tradition”. This list explains important keywords that occur in this article and links it to the glossary for a better understanding of that concept in the context of History, Linguistics, Religion, Philosophy, Hinduism, Buddhism, Jainism etc.
1) Tamil:
The Tamil language and its literature provide a rich foundation for understanding the cultural and religious traditions mentioned in the Acta Orientalia volume, especially in relation to the hymns of Nammāḻvār.
2) Rajarajan (Rajan-rajan):
Dr. Jeyapriya Rajarajan is the author of the article 'Paṉṉirunāmappāṭṭu of Nammāḻvār Dvādaśa-mūrti in Tamil Tradition' and provides extensive analysis and commentary on the subject.
3) Vishnu (Visnu):
Viṣṇu is a central deity in Hinduism, particularly in Tamil Vaiṣṇava tradition, represented with various epithets and forms in the 'Dvādaśa-mūrti,' discussed within the article.
4) Dvadasha (Dvadasa, Dvadasan, Dvadashan):
The concept of Dvādaśa (twelve) is an important iconographic theme in the article, especially in the context of the twelve epithets for Viṣṇu found in Nammāḻvār's 'Paṉṉirunāmappāṭṭu.'
5) Murti (Murtti):
In the context of the article, 'Mūrti' refers to the various forms and embodiments of Viṣṇu, especially the twelve forms listed in the Dvādaśa-mūrti.
6) Lotus:
The lotus flower is a recurring motif in the article, symbolizing purity and divinity, and often used to describe the eyes and feet of Viṣṇu.
7) Temple:
Temples play a significant role in the article, particularly the Nārttāmalai rock-cut temple, which features the twelve images of Viṣṇu discussed.
8) Dvadashamurti (Dvadasamurti, Dvadasha-murti):
Dvādaśa-mūrti refers to the twelve iconic forms or epithets of Viṣṇu, an important subject in the article, particularly in its manifestation in Tamil tradition.
9) White:
White is one of the colors attributed to certain forms of Viṣṇu in the Dvādaśa-mūrti, reflecting various aspects of purity and divinity.
10) Image:
Images or icons of Viṣṇu, particularly those found in the Nārttāmalai rock-cut temple, are a focal point of the article.
11) Rock:
The Nārttāmalai rock-cut temple plays a crucial role in the article, housing the twelve images of Viṣṇu analyzed for their theological and iconographical significance.
12) Tiruvaymoli:
This is a significant hymnal composition by Nammāḻvār that includes the 'Paṉṉirunāmappāṭṭu,' which explores the twelve names of Viṣṇu.
13) Black:
Black is one of the colors associated with various forms of Viṣṇu, such as Keśava in the context of the Dvādaśa-mūrti.
14) Colour (Color):
Colour patterns are essential in iconographic studies, with specific colors attributed to each form of Viṣṇu in the Dvādaśa-mūrti.
15) Krishna (Krsna):
Kṛṣṇa is one of the forms of Viṣṇu and appears prominently in the hymns and iconographic representations discussed in the article.
16) Trivikrama (Tri-vikrama):
Trivikrama is one of the twelve forms of Viṣṇu in the Dvādaśa-mūrti, known for his expansive form that encompasses the universe.
17) Nammalvar:
Nammāḻvār is the Tamil saint whose hymns, particularly those in the 'Tiruvāymoḻi,' include the 'Paṉṉirunāmappāṭṭu' and are central to the article.
18) Cave:
The article discusses the Nārttāmalai cave temple, which houses the twelve images of Viṣṇu, exemplifying the Dvādaśa-mūrti.
19) Chennai:
Chennai is mentioned as a location where some of the works related to the articles and texts have been published.
20) Shridhara (Sridhara, Shri-dhara):
Śrīdhara is one of the twelve forms of Viṣṇu in the Dvādaśa-mūrti, signifying the Lord who bears the goddess Śrī (Lakshmi).
21) Govinda (Go-vinda, Govimda):
Govinda is a form of Viṣṇu celebrated in the Dvādaśa-mūrti, often depicted as the protector of cows and connected with pastoral themes.
22) Foot (Feet):
The lotus feet of Viṣṇu are a recurring symbol in the hymns and iconography discussed in the article, representing beauty and divinity.
23) Padmanabha (Padmanabh, Padma-nabha):
Padmanābha is a form of Viṣṇu in the Dvādaśa-mūrti, depicted with a lotus emerging from his navel, symbolizing the birth of Brahmā.
24) Narayana (Nara-ayana, Nara-yana):
Nārāyaṇa is a form of Viṣṇu revered in the Dvādaśa-mūrti, often depicted as the preserver of the universe and highlighting his celestial aspects.
25) Damodara (Daman-udara):
Dāmodara is one of the twelve forms of Viṣṇu in the Dvādaśa-mūrti and is connected with Krishna's childhood where he was tied with a rope by Yashoda.
26) Flower:
Flowers, especially lotuses, play a significant role in the article, symbolizing purity and often used in descriptions of Viṣṇu's iconography.
27) Indian:
The article discusses the Indian context of the Dvādaśa-mūrti, particularly the impact of these traditions on Tamil literature and art.
28) India:
India provides the cultural and historical backdrop for the Dvādaśa-mūrti as explored in Tamil literature and the Nārttāmalai rock-cut temple.
29) Alvar (Arvar, Alwar):
The Āḻvār saints, including Nammāḻvār, are integral to the Tamil Vaiṣṇava tradition, with their hymns forming the basis for much of the theological discussion in the article.
30) Mind:
The mind's devotion and concentration are themes in Nammāḻvār’s hymns, reflecting the spiritual state required to connect with Viṣṇu.
31) Worship:
Worship is a central theme in the article, as Nammāḻvār’s hymns and the iconographic representations emphasize the devotion towards Viṣṇu.
32) Kurukur:
Kurukūr, also known as Āḻvār Tirunakari, is the birthplace of Nammāḻvār and serves as a significant setting in Tamil Vaiṣṇava tradition.
33) Kesava (Keshava):
Keśava is one of the twelve forms of Viṣṇu in the Dvādaśa-mūrti, depicted with a golden hue and often considered the first among the twelve.
34) Vamana:
Vāmana, the dwarf incarnation of Viṣṇu, is one of the twelve forms detailed in the Dvādaśa-mūrti and is noted for his mythological deed of defeating the demon king Bali.
35) Birth:
The themes of birth and reincarnation are significant in the hymns of Nammāḻvār, with references to the cyclic nature of existence and divine manifestations.
36) Green:
Green, particularly emerald green, is a color associated with Vāmana in the Dvādaśa-mūrti, symbolizing fertility and growth.
37) Vittu:
Viṭṭu is a rare term for Viṣṇu, praised in Nammāḻvār’s hymns, indicating his widespread devotion among Tamil speakers.
38) Caturvimshati (Caturvimsati, Catur-vimshati):
The Caturviṃśati refers to the twenty-four forms of Viṣṇu, expanding on the Dvādaśa-mūrti concept and including additional deities such as Saṃkarṣaṇa and Vāsudeva.
39) Literature:
Tamil literature, particularly the hymns of the Āḻvārs, provides the primary source material for the theological and iconographical discussions in the article.
40) Paripatal (Paripadal, Paripaadal):
Paripāṭal is an ancient Tamil text that contains early references to Viṣṇu worship, contributing to the understanding of his iconography in Tamil tradition.
41) Madhava:
Mādhava is another form of Viṣṇu in the Dvādaśa-mūrti, known for his valor and beauty, often depicted with blue-hued skin.
42) Gold (Golden):
Golden hue is a color descriptor used for Keśava among the Dvādaśa-mūrti, symbolizing his divine effulgence and purity.
43) Varna:
Varṇa refers to color patterns essential in differentiating the forms of Viṣṇu in the Dvādaśa-mūrti, such as golden, white, red, blue, and green.
44) Light:
Light is a motif in the hymns and iconography of Viṣṇu, representing divine radiance and purity, crucial in understanding his forms in the Dvādaśa-mūrti.
45) Lotus flower:
The lotus flower symbolizes purity and divinity and is frequently mentioned in descriptions of Viṣṇu’s eyes, feet, and hands in the hymns of Nammāḻvār.
46) Madhusudana (Madhu-sudana):
Madhusūdana is a form of Viṣṇu who is known as the destroyer of the demon Madhu, one of the twelve deities in the Dvādaśa-mūrti.
47) Iconography:
Iconography pertains to the visual representations of deities, particularly the twelve forms of Viṣṇu in the Dvādaśa-mūrti, as analyzed in the article.
48) Kannan:
Kaṇṇaṉ is a Tamil name for Kṛṣṇa, whose form and attributes are described in Nammāḻvār's hymns within the Dvādaśa-mūrti framework.
49) Delhi:
Delhi is cited as the location of the Sharada Publishing House, responsible for publishing various texts referenced in the article.
50) House:
The term 'house' may refer to a publishing house, playing a role in making seminal texts on Tamil literature and iconography available to scholars.
51) Pancaratra (Panca-ratra, Pancan-ratra, Pamcaratra):
Pāñcarātra is a tradition within Vaiṣṇavism that significantly influenced the hymns of Nammāḻvār and the Dvādaśa-mūrti concept.
52) Samhita:
Saṃhitā refers to the compilations or collections of liturgical texts, such as the Ahirbhūdhnya-saṃhitā, which provides the basis for Dvādaśa-mūrti iconography.
53) Lakshmi (Laksmi):
Lakshmi, or Śrī, is the consort of Viṣṇu and is mentioned in the hymns and iconography, playing a significant role in Vaiṣṇava theology.
54) Sharada (Sarada, Sara-da):
Sharada Publishing House is a key publisher of texts referenced in the article, such as works on Tamil literature and iconography.
55) Nayaka:
Nāyaka refers to a period and dynasty known for their contributions to Tamil temple art and iconography, relevant to the sculptures discussed in the article.
56) Blue:
Blue, often represented as 'nīla' or 'meghaśyāma', is a significant color in the iconography of Viṣṇu, associated with forms like Mādhava and Nārāyaṇa.
57) Divyadesha (Divyadesa, Divya-desha):
Divyadeśa refers to the sacred temples mentioned in Tamil Vaiṣṇava tradition, several of which are associated with the hymns of Nammāḻvār.
58) Catakopan:
Caṭakōpaṉ is another name for Nammāḻvār, reflecting his revered status and contributions to Tamil Vaiṣṇava literature.
59) Hrishikesha (Hrsikesa, Hrishika-isha):
Hṛṣīkeśa is one of the twelve forms of Viṣṇu in the Dvādaśa-mūrti, often depicted with golden attributes and associated with sensory control.
60) Vasudeva (Vasu-deva):
Vāsudeva is among the forms of Viṣṇu in the Caturviṃśati, extending the theological and iconographical framework discussed in the article.
61) Shritattvanidhi (Sritattvanidhi):
Śrītattvanidhi is a significant text referenced in the article, providing comprehensive details on the iconography of Viṣṇu and Śakti.
62) Silappadikaram (Silappatikaram, Cilappatikaram):
Cilappatikāram is an ancient Tamil epic mentioned in the article, providing early evidence of Viṣṇu worship and influencing later Tamil literature.
63) Samkarshana (Sankarsana, Samkarsana, Sankarshana):
Saṃkarṣaṇa is one of the forms of Viṣṇu in the Caturviṃśati, often depicted in white, showing familial and martial attributes.
64) Pitambara (Pita-ambara):
Pītāmbara refers to the yellow or golden silk garment often worn by Viṣṇu, symbolizing wealth, power, and divinity.
65) Vaishnava (Vaisnava):
Vaiṣṇava tradition focuses on the worship of Viṣṇu and his incarnations, with significant emphasis placed on the hymns and iconography detailed in the article.
66) Sthanaka:
Sthānaka refers to the standing posture prevalent in the iconography of Viṣṇu, as seen in the Dvādaśa-mūrti images at Nārttāmalai.
67) Shankha (Sankha, Samkha, Shamkha):
Śaṅkha is a sacred conch, one of the prominent attributes of Viṣṇu, often depicted in his upper left hand in various forms.
68) Brahma:
Brahmā, the creator god, is born from a lotus emerging from Viṣṇu’s navel (Padmanābha), linking him closely with Viṣṇu.
69) Pillai:
Piḷḷai Lokācārya is a significant Ācārya in the Śrīvaiṣṇava tradition, who expanded on the theological principles found in Nammāḻvār’s hymns.
70) Emblem:
Emblems such as the cakra, śaṅkha, gadā, and padma are vital in identifying the different forms of Viṣṇu in the Dvādaśa-mūrti and iconography.
71) Padma:
Padma, or the lotus, is a significant symbol associated with Viṣṇu’s iconography, representing purity and divine beauty in his various forms.